OOK, given the range of possible recording scenarios, and how often interesting events take place in poor acoustical conditions, situations will occur sooner or later in which nearly any given pair of microphones will deliver a good-sounding result.
Having oddball recording techniques (and the microphones to match) in your kit is a good thing, if you know when to use them and when not to. I have some microphones that I've only used a handful of times in 40 years of recording, but I'm glad I have them. I'm just saying that choosing a pair of shotgun mikes as your "go to" or only pair for stereo recording doesn't make sense for most situations.
Many people get misled by the size and shape of shotgun microphones. They (the microphones, I mean) do have greater directivity than cardioids in the upper midrange and above, but only somewhat--not nearly to the extent that people seem to hope for, and only in part of the frequency range. Inexpensive shotguns (and even many professional shotguns, and long shotguns in general) make you pay for that extra directivity with their highly irregular off-axis response.
Just as a thought experiment, although this actually happened to me a few weeks ago: Let's say you go to a place where a friend will be giving a musical performance, and for whatever reasons, you're forced to record from the back of the room. What type of microphones would you choose?
If your answer was "shotguns, because they would compensate for at least some of the excess distance," then both physics and long (sometimes sad) experience tell me that that answer is wrong. When you're far from the sound source, sound reaches your microphones at more or less random angles of incidence--and that's exactly the situation in which no one who understands how shotgun microphones work would choose to use them, with very few exceptions. If you're in that type of situation often, by all means use directional microphones such as supercardioids--but then use the best ones (in terms of smooth, flat frequency response, including off-axis) that you can afford to own, borrow or rent. It's unfortunately an undemocratic situation, since the top two or three brands of supercardioid sound so much better than everything below them in cost.
Normally I don't argue with people's personal opinions or preferences--but this idea of using shotguns in pairs as main microphones for stereo recording deserves to be criticized. Leave them to the film and video sound people for dialog and effects recording--or if you can afford to buy a $3000 shotgun as an experiment, try it for M/S music recording--but don't expect miracles. Shotguns are microphones, not telescopes.
--best regards
P.S.: Could you please delete your quoteback of my entire, previous long-winded message? On this type of board, everyone can already see everything that everyone else has posted in a thread.